Photoshop CS3 One-on-One: Beyond the Basics
Illustration by John Hersey

Rotating the minute hand


Photoshop CS3 One-on-One: Beyond the Basics

with Deke McClelland

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Video: Rotating the minute hand

In this exercise we are going to go ahead and add a minute hand to this developing clock face composition. I am working inside the cardinaletondo.psd image that's found inside the 16WarpLiquify folder. Now bear in mind that I have made some changes to this composition over the previous couple of exercises. If you are working along with me I would like you to click on the frame layer at the top of the Layers palette. The reason being this will allow us to drag and drop the various clock hands on top of the frame layer so they don't get mired inside of this face clipping mask right here.
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  1. 1h 15m
    1. Welcome to Photoshop CS3 One-on-One: Beyond the Basics
      2m 5s
    2. Selecting glass and water
      5m 23s
    3. Establishing a base layer
      3m 59s
    4. The Color Range command
      6m 45s
    5. Selecting sparkles
      3m 18s
    6. Setting sparkles to Screen
      4m 19s
    7. Selecting and compositing hair
      2m 59s
    8. When Color Range falls short
      7m 24s
    9. Selecting a base channel
      4m 25s
    10. Enhancing the channel's contrast
      4m 3s
    11. Dodging the highlights
      5m 54s
    12. Putting the mask in play
      3m 20s
    13. Reducing the edge fringes
      4m 20s
    14. Adding a layer mask
      4m 53s
    15. Creating a gradient quick mask
      5m 25s
    16. Blurring the layer mask
      5m 51s
    17. And that's just the beginning...
      1m 15s
  2. 1h 13m
    1. Edge-enhancement parlor tricks
      1m 29s
    2. The subterfuge of sharpness
      3m 14s
    3. The single-shot sharpness
      3m 46s
    4. Unsharp Mask
      5m 16s
    5. Understanding the Radius value
      4m 31s
    6. Gauging the best settings
      7m 13s
    7. Sharpening the luminance data
      8m 24s
    8. USM vs. Smart Sharpen
      6m 0s
    9. Smart Sharpen's Remove settings
      6m 23s
    10. High-resolution sharpening
      6m 4s
    11. Leave More Accurate off!
      2m 29s
    12. Turn More Accurate on
      2m 58s
    13. The Advanced options
      5m 17s
    14. Saving Smart Sharpen settings
      4m 18s
    15. Accounting for camera shake
      5m 59s
  3. 1h 24m
    1. Why the heck would you blur?
      1m 20s
    2. The "bell-shaped" Gaussian Blur
      7m 16s
    3. The Linear Box Blur
      2m 58s
    4. Median and its badly named progeny
      6m 3s
    5. Surface Blur and the rest
      5m 36s
    6. The Motion Blur filter
      3m 2s
    7. The Radial Blur variations: Spin and Zoom
      5m 55s
    8. The Captain Kirk-in-love effect
      6m 49s
    9. Averaging skin tones
      6m 2s
    10. Addressing the stubborn patches
      6m 0s
    11. Combining Gaussian Blur and Average
      4m 8s
    12. Blurring surface details
      7m 2s
    13. Smoothing blemishes while matching noise
      7m 52s
    14. Reducing digital noise
      8m 22s
    15. Smoothing out JPEG artifacts
      6m 0s
  4. 45m 24s
    1. Behold, the layered composition
      1m 13s
    2. The Layers palette
      5m 8s
    3. Enlarging the hand
      4m 40s
    4. Erasing with a layer mask
      6m 27s
    5. Moving a layer
      4m 2s
    6. Combining layers into a clipping mask
      4m 41s
    7. Hair and stacking order
      6m 12s
    8. Adding a frame and expanding the canvas
      6m 1s
    9. Adding a vignette
      7m 0s
  5. 42m 23s
    1. Organization: It sounds dull, but it rocks
      1m 7s
    2. The terrible battle
      3m 3s
    3. Assembling the base composition
      5m 45s
    4. Adding adjustment layers
      4m 55s
    5. Creating a layer group
      2m 23s
    6. Grouping selected layers
      3m 13s
    7. Making the TV lines
      4m 16s
    8. Introducing layer comps
      5m 52s
    9. Saving your own layer comps
      6m 40s
    10. Final footnotes
      5m 9s
  6. 1h 23m
    1. Parametric operations
      1m 3s
    2. The power of blend modes
      6m 44s
    3. Changing the Opacity value
      5m 35s
    4. Opacity vs. Fill Opacity
      4m 37s
    5. Meet the blend modes
      5m 37s
    6. Blend mode shortcuts
      5m 51s
    7. The darkening modes
      6m 12s
    8. Tempering a Burn effect with the Fill value
      3m 52s
    9. Saving a blended state
      2m 54s
    10. The lightening modes
      4m 55s
    11. The contrast modes
      7m 12s
    12. The comparative modes
      7m 25s
    13. The composite (HSL) modes
      6m 2s
    14. The brush-only modes
      8m 11s
    15. Blending groups
      7m 10s
  7. 1h 27m
    1. At this point, there is a great shift...
    2. Messing with the masters
      2m 28s
    3. Scaling a layer to fit a composition
      6m 38s
    4. Merging clock face and cardinal
      2m 2s
    5. Rotating the minute hand
      7m 41s
    6. Replaying the last transformation
      3m 50s
    7. Second hand and shadows
      5m 0s
    8. Series duplication
      3m 23s
    9. Skews and perspective-style distortions
      6m 43s
    10. The envelope-style Warp function
      7m 31s
    11. Introducing the Liquify command
      5m 9s
    12. Adjusting the brush settings
      4m 1s
    13. Viewing layers and the mesh
      4m 18s
    14. Incrementally undoing undesirable effects
      4m 5s
    15. Twirl, pucker, and bloat
      2m 2s
    16. Push, mirror, and turbulence
      4m 37s
    17. Protecting regions with a mask
      3m 40s
    18. Applying a digital facelift
      10m 53s
    19. Saving and loading mesh settings
      2m 30s
  8. 1h 18m
    1. Planes and perspective
      1m 6s
    2. The Blue Gallery
      2m 47s
    3. Introducing Vanishing Point 2.0
      5m 29s
    4. Drawing out perpendicular planes
      6m 53s
    5. Exporting the gridlines to a layer
      4m 45s
    6. Cloning an image from one plane to another
      7m 58s
    7. Blending the image into its new home
      6m 31s
    8. Healing away the sockets
      7m 47s
    9. Importing a new image
      6m 20s
    10. Masking and shading the image
      7m 26s
    11. Flat in, perspective out
      5m 57s
    12. Adding perspective type
      4m 49s
    13. Swinging planes to custom angles
      6m 2s
    14. Wrapping art around multiple surfaces
      4m 34s
  9. 1h 15m
    1. Type: The great imaging exception
    2. Creating an independent text layer
      6m 39s
    3. Editing vector-based text
      6m 38s
    4. Working with area text
      6m 14s
    5. Resizing the text frame
      6m 4s
    6. Obscure but important formatting options
      7m 25s
    7. Text editing tricks and shortcuts
      9m 37s
    8. Adding a ghostly cast shadow
      6m 19s
    9. Backlighting the text
      2m 48s
    10. Creating type on a path
      7m 36s
    11. Pasting text along the bottom of a circle
      3m 50s
    12. Flip and baseline shift
      3m 14s
    13. Warping text
      3m 58s
    14. Scaling the warped text to taste
      4m 18s
  10. 1m 12s
    1. See ya for now
      1m 12s

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Watch the Online Video Course Photoshop CS3 One-on-One: Beyond the Basics
10h 47m Intermediate Apr 16, 2007

Viewers: in countries Watching now:

Photoshop is the tool of choice for most creative professionals and has quickly become household name synonymous with computer art and image manipulation. In Photoshop CS3 One-on-One: Beyond the Basics, internationally renowned Photoshop guru Deke McClelland teaches such digital-age wonders as masking, filters, layers, blend modes, Liquify, Vanishing Point, and vector-based type. Along the way, Deke also teaches tried-and-true methods for sharpening details, smoothing over wrinkles and imperfections, trimming away jowls and fat, and wrapping one image around the surface of another. Plus, the training teaches how to construct and organize the elements in a composition so you can edit them easily in the future. Exercise files accompany the tutorial.

Ready for more Photoshop CS3 training with Deke? Check out Photoshop CS3 One-on-One: Advanced Techniques.

Note: Photoshop CS3 One-on-One: The Essentials is a recommended prerequisite to Photoshop CS3 One-on-One: Beyond the Basics.

Download Deke's customized keyboard layouts for Photoshop from the Exercise Files tab.

Topics include:
  • Understanding what Photoshop CS3 is and what it can do.
  • Zooming, scrolling, and getting around an image.
  • Making the most of the new-and-improved CS3 interface.
  • Using Adobe Bridge to organize and manage images.
  • Saving workspaces for maximum comfort and efficiency.
  • Correcting colors using the Variations and Hue/Saturation commands.
  • Taking on the professional-grade luminance editors, Levels and Curves.
  • Resampling an image and selecting an interpolation setting.
  • Cropping and straightening a photograph.
Design Photography
Deke McClelland

Rotating the minute hand

In this exercise we are going to go ahead and add a minute hand to this developing clock face composition. I am working inside the cardinaletondo.psd image that's found inside the 16WarpLiquify folder. Now bear in mind that I have made some changes to this composition over the previous couple of exercises. If you are working along with me I would like you to click on the frame layer at the top of the Layers palette. The reason being this will allow us to drag and drop the various clock hands on top of the frame layer so they don't get mired inside of this face clipping mask right here.

So just a precautionary measure and now I am going to press Shift+F to restore the standard window view and I am going to switch back over to the clockparts.tif image from Nicholas Belton. Now I want to select this hand right here. This I judge to be the minute hand, this center hand on the left hand side of the image. I could in order to select it I could reload the mask alpha channel as a selection outline that's one way to work or I just want to show you a different way to work here. I am going to bring up the History Palette and you can get to this palette by choosing the History command from the window menu if you prefer.

If you have been working along with me you should see a short sequence of operations basically you open the image then you loaded the selection outline that's when you loaded the mask alpha channel as a selection and there is this step rectangular marquee where you found the intersection by Shift+Alt+Dragging or Shift+Option+Dragging with the regular marquee tool to keep only the clock face selected. If you backup a single operation here you will restore the entire mask's selection outline so it's not necessarily an easier to way to work.

It's all that much easier that is to click on this option as opposed to Control or Command clicking on this channel down here but it helps demonstrate that the History Palette tracks operations for each and every open image. So just bear in mind that you have that option available to you alright I am going to go ahead and close the History Palette then using the rectangular marquee tool once again I am going to Shift+Alt+Drag or Shift+Option+Drag around the minute hand like so and I have now only the minute hand selected then I will press and hold the Control key here on the PC or the Command key on the Mac and I will drag and drop the minute hand into the cardinaletondo composition.

Now I am going to press the F key to switch back into the CS3 maximized view. And I am going to go ahead and Control+Drag or Command+Drag this hand into place so that the center of the clock hand is at the center of the clock. Now the clock hand is way too big as you can see it extends outside of the canvas so I want to scale it to a more reasonable size. I can repeat the last transformation that I assign that I apply to the clock face here. By going up to the Edit menu choosing the Transform command and choosing this guy right there again transform again where I compress Control+Shift+T and this is a very good keyboard shortcut to memorize that's Command+Shift+T on the Mac and that will repeat that previous transformation.

If you like it now it may not turn out to be all that great. There is two problems with it from my perspective one I would like the minute hand to be slightly bigger perhaps I am not sure actually maybe it's fine the way it is but I am a little worried about leaving that gap right there around the center dial of the minute hand and that allows some of the Michael Angelo Fresco to showing from the background. Of course they could end up hiding that gap using some of the other hands so it may not be that big of a problem. On the other hand maybe the hand is too big, maybe it's extending too far into the numbers and I definitely want to rotate the hand to some sort of minute on the clock face here so it looks a little more natural than just hanging down it exactly the 30 position so if you run into a situation like that where you want to follow up one transformation with another transformation then you probably want to handle everything in one clean transform operation.

You don't want to be keeping transformation on top of transformation on top of transformation because you end up destroying the original pixel information inside the layer. Now you can apply non-destructive transformations inside Photoshop using smart objects. We just haven't gotten the smart objects yet so right now we are not working with the smart objects we are just working with static layers so, I am going to undo that last modification actually I have to press Ctrl+Alt+Z a couple of times in a row that's Command+Option+Z on a Mac in order to back step so that we are seeing the original version of the hand.

Here is a trick that I want you to bear in mind. It's little weird but it's going to make a lot of sense once you start doing a lot of transforming inside of Photoshop. First press Control+T or Command+T on the Mac to enter the free transform mode then press Control+Shift+T or Command+Shift+T on the Mac to restore the last applied transformation and keep yourself inside of the free transform mode so that you can still apply some other transformations non destructively. Does that make sense? So I am still inside the free transform mode and yet I have lifted my last transformation values of 44.4% proportionally that's awesome.

By the way that is what I just gave you that little trick that was gold you are welcome. Alright I am going to move this central handle upward by the way. I should just near instead of being snide I should never write what I am doing I will go ahead and drag the minute hand down a little bit so that it's centered on a clock face and then I am moving this transformation origin. Notice that I can drag the transformation origin anywhere where I want it to be, so that little target I am dragging to the center of the pivot for the clock hand and now by moving my cursor outside the transformation boundary notice that it changes to a little rotate icon and I will now drag with this rotate cursor in order to rotate the clock hand around the face like so.

So I think this is a good time of day for this clock I would do want to not sort of cover up too much of the Raphael face in the background so maybe I should move the clock hand a little higher so that it's covering let's say this part of the nose right there. Some portion of this guy's faces got to be covered up. Let's leave you know elements like the eyes opened and maybe the base of the nose and the mouth and so on. And then finally I might go ahead and I am sort of still grappling with whether this clock hand ought to be bigger or smaller but let's say I decide it needs to be a little smaller.

I am going to go onto the W and H values up there which control the scaling of the hand and I am going to turn on that little link so that I maintain a consistent aspect ratio i.e. I go ahead and scale the width and the height of the image proportionally then I am going to click inside either the width or the height value it doesn't matter which one. And I am going to press the down arrow key in order to make this clock hand a little bit smaller maybe not quite that much smaller. Let's go ahead and go with let's say 41%. What the hack and then press the Enter key or the Return key on the Mac in order to accept this value right here.

I haven't exited the free transform mode quite yet by the way because I do want to show you notice that the rotation of the clock hand is also being tracked using this little angle value right there. These suckers over there H & V that have little degrees next to them those are the skew values in case you decide to skew your clock hand at some in time. Alright now I am going to press the Enter key or the Return key once again in order to accept my transformation and depart from the free transform mode. So there you go I have a nicely scaled and rotated minute hand at the center of my high renaissance clock.

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